Terror tracks: music, sound and horror cinema
Commissioned and edited to appeal to a crossover Film and Music Studies readership, Terror Tracks is an anthology that analyses the use of music and sound in the popular genre of Horror cinema. Focusing on the post-War period, contributors analyse the role of music and sound in establishing and enhancing the senses of unease, suspense and shock crucial to the genre. The anthology shows the various patterns of use an inflection in a range of scores - orchestral, popular, rock and electronic - and how these relate to non-musical sound. Lively and accessible, Terror Tracks is an important contribution to study of Horror cinema.
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An Audiovisual Foreshadowing in Psycho
Sound and Music in Hammer s Vampire Films
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1ndeed 1talian accompanied aesthetic Alfred Hitchcock Argento audience Australian bass Bernard Herrmann biwa Blair Witch Project camera Chain Saw Massacre chainsaw characters classical composer create culture Danny demon Devil's Rejects dialogue diegetic director Dracula dramatic elements Ennio Morricone evil Exorcist Figure Film Music film scores film-makers film's final Fireflys genre ghost Goblin heavy metal hell Hellraiser Helsing Herrmann Hitchcock Hollywood horror cinema horror films horror movies human ibid images kabuki Kubrick Kwaidan lapanese Leatherface main title Marion melody Morricone Morricone's motel motif murder narrative noise non-diegetic notes orchestral Penderecki percussion piano plays popular music prelude Profondo Rosso Psycho Psycho chord rhythmic Ringu rock Satanic Rites screams screen sequence shakuhachi shot shower scene song sonic sound design sound effects soundtrack Stainforth Stanley Kubrick story string suggests Suspiria Takemitsu Tetaz Texas Chain Saw theme Tobe Hooper track traditional underscore University Press vampire violence visual vocal Wolf Creek